Curatorial Projects
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第五屆香港觸感藝術節 ---首個黑暗中的展覽
「觸感生情」 探索生命 日期：2018 年 3 月 2 日至 25 日 地點：VESSEL發現號02 (九龍觀塘海濱道90號) |
策展人語
如果說展覽模式屬視覺藝術的載體並不過分。事實上博物館的前身「奇珍之內閣」（cabinet of curiosities ）早於文藝復興時期出現。由於當時交通並不發達旅遊亦不普及，貴族或上流階層出於探索世界的好奇心從而研究及收藏奇珍異寶，如：羽毛、珊瑚、生物標本、雕塑、畫作等，並把私人收藏品展示在一個玻璃櫃甚或是整個房間，後來發展至日後的博物館展覽。而因為收藏品珍貴罕有，所以大部分都放在玻璃櫃內，眼看手勿動。
自18世紀初開始，法蘭西藝術院為畢業生舉辦沙龍藝術展 (Paris Salon），其名字源於首次舉行的地點─羅浮宮的Salon Carre。沙龍展展出的畫作從地下到天花板鋪滿整幅牆，當時的鑑賞家相信其密集對稱佈置的展示方式更能比較各種風格。沙龍雖不進行商業買賣，但會在藝術品下提供藝術家資料，讓參觀人士可私下聯絡，也就成就了視覺藝術展中慣用的標題卡（caption card ）了。
長久以來的藝術展示方式，創作者都是用視覺效果傳達，欣賞者用視覺元素理解及享受。近年當代藝術開始興起的參與式藝術（participatory art），講求公眾的參與，其互動更能影響作品的發展，但即使運用全身體驗，都是以視覺為主導。
過去四屆的觸感藝術節跟大部份視覺藝術展覽一樣，在白盒子空間（white cube space）進行。雖然作品觸感及樣式豐富並鼓勵參加者觸摸作品，視障人士也有機會體驗展覽，但健視人士一般都很難避免先用視覺欣賞及下判斷才伸手觸摸，觸摸作品時或多或少都受視覺觀感影響。第五屆觸感藝術節首次離開石硤尾，走到牛頭角海濱天橋底一個長方空間。參加者蒙上眼睛由視障人士帶領入場觸摸作品經驗觸感之旅。由視障及健視藝術家組成的10個創作單位，以作品談及生命中不能缺少的五個元素：水、呼吸丶食、溫度和關係。
關於食：
張啟富、黎振寧和姚君豪組成三儉合，作品<聚餐>透過聲音裝置和轉盤圓桌聚餐模式，以夾得到但吃不到的食物，幽默地讓參加者進一步經驗視障人士在熱鬧的聚餐中的難言感受。
嚴美媚和何敏儀的作品<舌尖的思念＞靈感來自兒時的扭蛋機玩意，參加者扭出不同口味的小塊，細細品嚐其味道，讓味蕾牽起不同的回憶。
關於水：
<紅河村的小故事>是一個長形水池，小星和陳百堅邀請參加者伸手入水池感受那輕微流動的水，尋找那些心底的夢和沉澱了的回憶。
關於呼吸：
當你觸摸張運澄和梁曉然的浮雕作品<呼吸的味道>時會聞到濃醇的香氣，他們先以盲畫的方法繪圖，再以茶葉蛋中的食材製作浮雕圖案，離開時指頭也許帶著一些餘韻。
一條越走越矮小的隧道是逗點和陳彥璘的作品<自由的空氣>，作品以空間感、氣流、濕度及植物的生命變化，帶給參加者一個尋找呼吸節奏的觸感體驗。
關於溫度：
程雪君和陳裕君都對兒時跟兄弟姊妹分享被窩的回憶非常深刻，作品<被窩的溫度>運用風扇把被子吹得「脹卜卜」，參加者可伸手或進內坐感受涼風吹拂的舒暢。
當你觸摸林董儀和梁以瑚的作品時你會感覺到微風有時；暖意有時，十多對不同觸感的手襪編織在一起帶你回想生活中不同的溫度經驗。
關於關係：
手的接觸是人與人之間最直接的關懷表現，黃鳳芝與黃美芳的作品< 觸>以不同形態的手部浮雕帶給參加者不同感受及溫度；或柔軟或粗糙的皮膚。
不同的盒子承載着各式各樣的物件，探頭進去會聽到不同的小故事，袁永賢和Ivan Tang的作品分享的或許是生活中的小片段，但也是這些片段成就了今天的他們。
一張孤立的單人床、特製的被單和令人難眠的聲音是盧勁馳和楊秀卓的作品<睡眠的斜視>給予參加者的觸感體驗，透過不同觸覺帶來的想像空間思考睡眠與自身的關係。
希望在這次黑暗觸感之旅，我們能放開視覺藝術的框架，在視覺主導的年代，以手扺物，用心感受，盡情享受，探索我們與生俱來的各種觸覺，在生活中尋找觸感中的情。
黃詠楓
Curator’s note:
It is not unjustifiable to say, ‘an exhibition is a carrier of visual art’. In fact, early museum were called the ‘Cabinets of Curiosities’. It emerged in Renaissance Europe, when travel around the world was not possible for common people. Wealthy individuals and families collected exotic treasures, curious natural objects, work of art and antiquities. These private collections were often displayed in a cabinet or filled in the entire room, which contributes to the future display method of museum’s exhibition. As the collection was rare, it was mostly placed in glass cases where touch is forbidden.
Since the early 18th century, Académie des Beaux-Arts began to hold event for its graduates named ‘Paris Salon’. The name came from its first event location, Louvre’s Salon Carre in this exhibition paintings were displayed and covered the exhibition rooms from the ceiling to the wall and down to the floor. Connoisseurs believed that artworks displayed in dense, symmetrical arrangements allowed a better visual comparison of styles. Salons would not serve as a trading platform, but to provide information under each artwork that allowed visitors to contact the artists, which began the popular usage of the caption card in visual art exhibitions.
In the history of art display, artists and viewers communicate with each other using visual elements to share mutual understanding and enjoyment. In contemporary art, participatory art begins to emphasize the interaction with participants which would influence the development of the work. It sometimes requires using our whole body to experience, but visual is still primary.
Like most visual arts exhibitions, the past four touch art festivals were held in a white cube space. The artworks were all rich in sensory. We encouraged the visitors to touch all the artworks. The visually impaired can also enjoy the exhibition. However, it is generally difficult for sighted people to avoid using visual appreciation and judgments before reaching out to touch the artworks. Sighted visitors were, more or less, attracted towards visual representation. For the first time, the 5th Hong Kong Touch Art Festival runs outside Shek Kip Mei to a rectangular space under the flyover at Ngau Tau Kok. Participants will be asked to blindfold themselves and be led by a visually impaired docent to experience this year’s touch art journey. There are 10 creative units consisted of visually impaired artists and sighted artists. Their artworks are about the indispensable five elements in life: water, breathing, food, temperature and relationships.
About Food:
Cheung Kai Fu, Lai Chun Ling and Yiu Kwan Ho formed the ‘Economical Union of Three’. Their work "Dinner Gathering" is a sound installation and a round dinning table with a lazy Susan tabletop. In the sound clip, you are asked to pick up pieces of food with the chopsticks but not allowed to eat them. Their work allows participants to further experience the difficulty of the visually impaired dining in a bustling noisy environment in a humorous way.
Inspired by the capsule toy machine from childhood memory, Mei-mei Yim and Blanche Ho's installation ‘Tips of the Tongue’ invites participants to randomly draw small pieces of natural flavored candy and let their taste buds bring up different memories.
About Water:
‘Tales of the Red River Village’ is an elongated pool where Little Star and Brandon Chan invite participants to dip their hands into the pool to feel the flow of water, to find the many forgotten dreams and hazy memories resonant to the objects.
About Breathing:
When you touch relief sculpture of Peter Chang and Terence Leung’s ‘Memoir In The Air’, you will smell rich aroma of herbs. The embossment is enlarged blind drawings they did together with the shell of Chinese tea egg. Your fingers might carry the aroma afterwards.
A sculpted tunnel-like space is another installation called "Free Air." Comma and Yin-Lun Chan attempt to have participants walk down the tunnel with a change of size of space, airflow and humidity, which allows participants a tactile experience of finding their breathing rhythms in our ever-changing life.
About Temperature:
Nicole Ching and Yukko Chan both have profound memories of sharing blanket with their brothers and sisters in their childhood. “The Temperature of the Bed” is a swollen blanket blowing up with a fan, inviting participants to tap on the inflated blanket from the outside or sit in and feel the cool breeze.
When you touch Stephanie Lam and Evelyna Liang’s work, you can feel the temperature fluctuates with more than a dozen of stuffed woven gloves to bring you memories of the temperature experiences in life.
About the Relationship:
Touch is the most direct expression of care between humans. Dawn Wong and Wong Fung Chi created ‘Touch’ featuring sculptures of hand gesture to give participants feelings of different body temperatures and skin textures that you can associate with.
Ivan Tang and Thomas Yuen feature many boxes. Each box has a different object and a sound clip in it. Each box is like a small fragment of life, and the many small fragments put together made them who they are today.
An isolated single bed with custom tactile bed sheet and sleepless sound is the work of Clayton Lo and Ricky Yeung. The installation encourages participants to free their imagination through sensations and think about the relationship of falling asleep and oneself.
I hope that in this dark tactile journey, we can put aside boundaries of visual art and visuality. Try our best to touch with our heart and experience all kinds of emotions with natural-born sensory and explore more profound experience though touch in everyday life.
WONG Wing Fung
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第三屆香港觸感藝術節展覽
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策展人的話
觸字以「角」為部首，形容獸類用犄角扺物。感字以「心」為部首，本義：感動。藝術本來就有着觸動人心的力量，觀眾的思想感情受作品影響而觸動感慨。
人類一直以來注重透過視覺接收、傳達與學習，一般健視人士的視覺記憶比較豐富，例如看見落葉我們立刻想起秋天來了，看見紅色或會想起農歷新年等喜慶時刻。味覺記憶也不差，吃到一些兒時食物會勾起童年回憶。那麼觸覺呢？我們透過觸覺產生的記憶，好像遠不如視覺來得頻密和牢固。可是對失明人士來說，觸覺對他們日常生活感受身邊事物佔很重要的部分，因此敏感度較高。通過觸摸我們能有更多對藝術的想像嗎？你最深刻的觸感記憶又是什麼呢?
第三屆觸感藝術節以展覽的方式讓人與作品之間產生互動，提供進一步的思考。展覽是過去幾年中最大型的一次，今年我們與JCCAC藝術節伙伴合作，在L0和L1兩個展區嘗試透過觸覺甚至聽覺等身體經驗，我們邀請大家以手扺物，用心感受，在視覺主導的年代，探索其他與生俱來的感覺。
是次展覽不僅展出觸感豐富形態萬千的作品(Touch me)，還包括藝術家以立體創作手法全新演繹原為平面的作品（New interpretation)、由視障人士與藝術家攜手合作的作品(Cross over)、鼓勵觀眾參與的互動體驗作品（Interaction)、觸感舞蹈、觸感藝術工作坊作品(Touch arts workshop)等。今年我們更邀請了兩位視障人士為部分展品作觸感描述錄音(VI audio recording)，透過他們對作品的描述，公眾人士可以他們的角度欣賞作品，激發想像力。
不可不提的是今年第三屆香港觸感藝術節展覽中的每件作品也設有口述影像服務(Audio description)，公眾人士可在展覽現場借用口述影像設備或通過QR code於網上收聽。
讓我們暫時放開視覺的框架，全情投入於觸摸和聲音的感覺與想像之中, 開展一場觸感旅程。
黃詠楓
Curator’s note:
Art has the power to ‘touch’ people's heart. When we encounter an artwork, our thoughts and feelings are affected by it and good ones always touch our heart.
In the era of visually dominating world, mankind has been focus using visual to receive, convey and to learn. It is very rare for us to explore other senses, which are inherent in every human being. For instant, when we see a falling leaf, we will immediately think of fall is coming soon; when we see the color red, we might recall Christmas or a celebration moment. Our taste sensory is also active, it is easy for us to recall a memory when we eat something familiar. How about our memory of touch? The tactile feel of everyday life for blind people play an important role and therefore developed a higher sensitivity. What is your most profound memory of touch? Can we perhaps have more imagination though touching artwork?
The Third Touch Art Festival exhibition focuses on our physical experience through touch and even hearing sensations. This year we partnered with JCCAC Festival, exhibiting various kinds of artworks in both L0 and L1 gallery. You will find artworks in different interesting shapes and many that are rich in texture; also works that show new interpretation with three-dimensional artworks that are originally two-dimensional; artworks created by artists and visually impaired individuals; interactive experience works that you can walk in or operate by yourself; artworks created by the community in our touch art workshops and touch dance workshop. We also invited numbers of visually impaired individuals to describe a selection of the exhibits and tell us how they feel about the works by describing them. In this way, the public can enjoy the exhibits from other angles and stimulate imagination.
We are very please to let you know that all the artworks we exhibit in the show this year has audio description service. Publics can borrow a sound device from the reception desk or listen online though a QR code.
Let’s start a visual-less journey and devote full efforts into touch and sound sensation.
Wong Wing Fung
觸字以「角」為部首，形容獸類用犄角扺物。感字以「心」為部首，本義：感動。藝術本來就有着觸動人心的力量，觀眾的思想感情受作品影響而觸動感慨。
人類一直以來注重透過視覺接收、傳達與學習，一般健視人士的視覺記憶比較豐富，例如看見落葉我們立刻想起秋天來了，看見紅色或會想起農歷新年等喜慶時刻。味覺記憶也不差，吃到一些兒時食物會勾起童年回憶。那麼觸覺呢？我們透過觸覺產生的記憶，好像遠不如視覺來得頻密和牢固。可是對失明人士來說，觸覺對他們日常生活感受身邊事物佔很重要的部分，因此敏感度較高。通過觸摸我們能有更多對藝術的想像嗎？你最深刻的觸感記憶又是什麼呢?
第三屆觸感藝術節以展覽的方式讓人與作品之間產生互動，提供進一步的思考。展覽是過去幾年中最大型的一次，今年我們與JCCAC藝術節伙伴合作，在L0和L1兩個展區嘗試透過觸覺甚至聽覺等身體經驗，我們邀請大家以手扺物，用心感受，在視覺主導的年代，探索其他與生俱來的感覺。
是次展覽不僅展出觸感豐富形態萬千的作品(Touch me)，還包括藝術家以立體創作手法全新演繹原為平面的作品（New interpretation)、由視障人士與藝術家攜手合作的作品(Cross over)、鼓勵觀眾參與的互動體驗作品（Interaction)、觸感舞蹈、觸感藝術工作坊作品(Touch arts workshop)等。今年我們更邀請了兩位視障人士為部分展品作觸感描述錄音(VI audio recording)，透過他們對作品的描述，公眾人士可以他們的角度欣賞作品，激發想像力。
不可不提的是今年第三屆香港觸感藝術節展覽中的每件作品也設有口述影像服務(Audio description)，公眾人士可在展覽現場借用口述影像設備或通過QR code於網上收聽。
讓我們暫時放開視覺的框架，全情投入於觸摸和聲音的感覺與想像之中, 開展一場觸感旅程。
黃詠楓
Curator’s note:
Art has the power to ‘touch’ people's heart. When we encounter an artwork, our thoughts and feelings are affected by it and good ones always touch our heart.
In the era of visually dominating world, mankind has been focus using visual to receive, convey and to learn. It is very rare for us to explore other senses, which are inherent in every human being. For instant, when we see a falling leaf, we will immediately think of fall is coming soon; when we see the color red, we might recall Christmas or a celebration moment. Our taste sensory is also active, it is easy for us to recall a memory when we eat something familiar. How about our memory of touch? The tactile feel of everyday life for blind people play an important role and therefore developed a higher sensitivity. What is your most profound memory of touch? Can we perhaps have more imagination though touching artwork?
The Third Touch Art Festival exhibition focuses on our physical experience through touch and even hearing sensations. This year we partnered with JCCAC Festival, exhibiting various kinds of artworks in both L0 and L1 gallery. You will find artworks in different interesting shapes and many that are rich in texture; also works that show new interpretation with three-dimensional artworks that are originally two-dimensional; artworks created by artists and visually impaired individuals; interactive experience works that you can walk in or operate by yourself; artworks created by the community in our touch art workshops and touch dance workshop. We also invited numbers of visually impaired individuals to describe a selection of the exhibits and tell us how they feel about the works by describing them. In this way, the public can enjoy the exhibits from other angles and stimulate imagination.
We are very please to let you know that all the artworks we exhibit in the show this year has audio description service. Publics can borrow a sound device from the reception desk or listen online though a QR code.
Let’s start a visual-less journey and devote full efforts into touch and sound sensation.
Wong Wing Fung
深水埗民間藝術展
展覽日期：2014年2月18至28日
地點：賽馬會創意藝術中心L1 藝廊
展覽日期：2014年2月18至28日
地點：賽馬會創意藝術中心L1 藝廊
策展人的話
黃詠楓
究竟藝術如何介入社區?從這十四個扎根於深水埗的社區服務機構身上，我看到的是人文關懷：他們與居民一起生活，有著同一脈搏，每天經歷著社區變遷…… 這種精神的注入，是開展社區藝術首要條件 ﹣切身了解社區。
2012-2014年度「我們的石硤尾創意藝術中心」社區實踐計劃」，由14個深水埗區的社區服務機構共同參與，它們有特定的關注群體：區內的視障人士、基層勞工、婦女、少數族裔、長者、更生人士、兒童及青少年等。就讓我們從認識社群開始，在展覽中思考更多藝術與社區的關係吧。
展覽分為四個主要部份，我的社區、我的故事、我的作品和我的體驗。從「我的社區」和「我的故事」兩個部分的作品裡，創作者讓我們窺探到深水埗區居民的生活面貌和對區內的寶貴回憶。藝術就有著這份能力，為創作者提供第一身的藝術經驗，亦透過畫筆、陶泥和音樂等媒介，向素未謀面的觀眾分享作者的想法。
我的社區
由勞聯智康協會展出的十八幅名為「褪與染的深水埗」塑膠彩畫作，由區內十多名長者及婦女們把心目中的今昔深水埗繪畫出來，不小學員更是首次接觸塑膠彩。細看深水埗舊照，畫下他們心中的人地情，不知會否引起你的共鳴呢?
同是以「共鳴」為主旨的香港善導會九龍西社會服務中心， 以「潮遊老香港」為題， 製作搶眼非常的傳統紮作作品。藝術家導師帶領參加者回憶舊日生活的點滴，把昔日的日用品如竹籠等改頭換面，為舊物帶來新鮮感。
圓形的白鐵桌上，是香港小童群益會賽馬會長沙灣青少年綜合服務中心學員的作品 ﹣珍味家常菜。 他們大多是本區的家庭主婦。通過創作熟悉的家常菜模型，學員除了對此新事物有所認識外，還發揮了身為家庭主婦最拿手的烹飪技巧 。
「一桌兩椅」的聲音裝置 ﹣ 香港國際社會服務社深水埗(南)綜合家庭服務中心請來粵劇師傅敎授折子戲「朱弁回朝之送別」， 從領悟、演繹及傳達粵劇折子戲的過程 ，心領神會中國傳統藝術的精粹。
簾子後是東華三院余墨緣綜合服務中心設計的板間房，房內擺放了3D紙模型（Fotomo）作品。學員探訪深水埗區內民居，以對空間的理解，把平面的房間照片創作成3D拼貼，記錄了本區的生活面貌。
我的故事
充滿童真的寫生畫是香港基督教青年會長沙灣中心一班Future Artists的作品，我們不但看到南亞裔和華裔青少年眼中的深水埗，更可以拿起展示台上繪畫了他們個人生活點滴的膠片，拼合畫作一起欣賞。
你有把過去的收藏品、舊物放在餅乾罐的習慣嗎？香港家庭福利會深水埗(西)綜合家庭服務中心的一班婦女，將兒時回憶塑造了一系列陶泥作品，並收藏在餅乾罐裡。牆上貼滿了她們的攝影作品，細數生活中感恩的小點滴。
幾位熱愛音樂的媽媽，跳出廚房走進音樂室再踏上舞台，她們正是來自基督教崇真會深恩軒的「Lady MaMa」樂隊。由當初對音樂一竅不通，透過音樂藝術工作坊的訓練，培養她們對音樂興趣，並作公開演出。想聽聽她們的音樂，請不要忘記帶上耳機呀。
「我是正常人」是香港基督教女青年會深水埗綜合社會服務處讀障少年的創作。長長的畫是讀障學生的內心世界，表達他們由黑暗沮喪走進光明自信的人生路。展覽設有體驗區，讓大家加深對讀寫障礙的認識，給予讀障學生關懷與支持。
「我的作品」集中鍛鍊學員的工藝技巧和提升他們對創作的興趣，讓他們更有自信，使創作有機會得以延續。「 我的體驗」並不著重形式和技巧，他們即興創作，就地取材以享受過程為目標，開托參與者的觸感經驗，嘗試打破傳統藝術創作的界限和觀念。
我的作品
一雙雙襪子娃娃是可愛的鷄仔、鱷魚和小熊。青暉婦女會的導師教授學員運用生活中的現成材料：一隻襪子，一些棉花和小鈕扣，製作出別樹一幟的襪子娃娃，部份更是親子創作的成果。同樣擁有心靈手巧的一眾深水埗南昌居民商戶聯會婦女，收集舊利是封製作宮燈、燈龍、鞭炮等新年掛飾，在環保概念下為展覽帶來點點新年氣氛 。
嗇色園主辦可健耆英地區中心的中國水墨畫跟西洋繪畫作品互相輝影。西方靜物寫生多以直接實物為對象，作畫的人通過對景物的深入觀察，完成對立體形象、光影和質感的刻畫；中國水墨畫造型簡練，意在傳神，借物抒情。每幅作品都是長者的個人修行。
我的體驗
「齊來砌成環保塔」是一個新穎的即興創作，南方民主同盟邀請南亞裔和本地的小藝術家與現場參觀者一起變廢為寶，利用想像力將廢物組合成小玩兒 。同樣著重觀眾體驗的香港盲人輔導會香港賽馬會社區資助計劃 -視障兒童家長資源中心，通過觸感及心靈探索,創作出石膏雕塑及竹蓆紙雕作品，讓視障者表達自己的想像和感受。場內設有體驗區，蒙着雙眼，探索視覺以外的感官可能性。
展覽中除了各「民間藝術家」的個人創作外，還滲入了公眾參與的元素。公眾可以在「你有Say」大畫布和工作坊區發揮創意、參與創作及表達自己的感受。
藝術的種子能否繼續在社區成長，發揮其正面影響力，有賴藝術家和社群共同努力。 藝術家／工作坊推動者需具備與社群溝通的心志 ， 發掘每位參與者的能力和興趣。藝術家透過與居民互動，從中取得靈感，擴闊自身的藝術觀點，創作出觸動心靈的作品 。參與者不再停留在純美感欣賞，當他們對社區之情感融合在創作之中時，便能吸引更多觀眾親身接觸藝術創作。
黃詠楓
究竟藝術如何介入社區?從這十四個扎根於深水埗的社區服務機構身上，我看到的是人文關懷：他們與居民一起生活，有著同一脈搏，每天經歷著社區變遷…… 這種精神的注入，是開展社區藝術首要條件 ﹣切身了解社區。
2012-2014年度「我們的石硤尾創意藝術中心」社區實踐計劃」，由14個深水埗區的社區服務機構共同參與，它們有特定的關注群體：區內的視障人士、基層勞工、婦女、少數族裔、長者、更生人士、兒童及青少年等。就讓我們從認識社群開始，在展覽中思考更多藝術與社區的關係吧。
展覽分為四個主要部份，我的社區、我的故事、我的作品和我的體驗。從「我的社區」和「我的故事」兩個部分的作品裡，創作者讓我們窺探到深水埗區居民的生活面貌和對區內的寶貴回憶。藝術就有著這份能力，為創作者提供第一身的藝術經驗，亦透過畫筆、陶泥和音樂等媒介，向素未謀面的觀眾分享作者的想法。
我的社區
由勞聯智康協會展出的十八幅名為「褪與染的深水埗」塑膠彩畫作，由區內十多名長者及婦女們把心目中的今昔深水埗繪畫出來，不小學員更是首次接觸塑膠彩。細看深水埗舊照，畫下他們心中的人地情，不知會否引起你的共鳴呢?
同是以「共鳴」為主旨的香港善導會九龍西社會服務中心， 以「潮遊老香港」為題， 製作搶眼非常的傳統紮作作品。藝術家導師帶領參加者回憶舊日生活的點滴，把昔日的日用品如竹籠等改頭換面，為舊物帶來新鮮感。
圓形的白鐵桌上，是香港小童群益會賽馬會長沙灣青少年綜合服務中心學員的作品 ﹣珍味家常菜。 他們大多是本區的家庭主婦。通過創作熟悉的家常菜模型，學員除了對此新事物有所認識外，還發揮了身為家庭主婦最拿手的烹飪技巧 。
「一桌兩椅」的聲音裝置 ﹣ 香港國際社會服務社深水埗(南)綜合家庭服務中心請來粵劇師傅敎授折子戲「朱弁回朝之送別」， 從領悟、演繹及傳達粵劇折子戲的過程 ，心領神會中國傳統藝術的精粹。
簾子後是東華三院余墨緣綜合服務中心設計的板間房，房內擺放了3D紙模型（Fotomo）作品。學員探訪深水埗區內民居，以對空間的理解，把平面的房間照片創作成3D拼貼，記錄了本區的生活面貌。
我的故事
充滿童真的寫生畫是香港基督教青年會長沙灣中心一班Future Artists的作品，我們不但看到南亞裔和華裔青少年眼中的深水埗，更可以拿起展示台上繪畫了他們個人生活點滴的膠片，拼合畫作一起欣賞。
你有把過去的收藏品、舊物放在餅乾罐的習慣嗎？香港家庭福利會深水埗(西)綜合家庭服務中心的一班婦女，將兒時回憶塑造了一系列陶泥作品，並收藏在餅乾罐裡。牆上貼滿了她們的攝影作品，細數生活中感恩的小點滴。
幾位熱愛音樂的媽媽，跳出廚房走進音樂室再踏上舞台，她們正是來自基督教崇真會深恩軒的「Lady MaMa」樂隊。由當初對音樂一竅不通，透過音樂藝術工作坊的訓練，培養她們對音樂興趣，並作公開演出。想聽聽她們的音樂，請不要忘記帶上耳機呀。
「我是正常人」是香港基督教女青年會深水埗綜合社會服務處讀障少年的創作。長長的畫是讀障學生的內心世界，表達他們由黑暗沮喪走進光明自信的人生路。展覽設有體驗區，讓大家加深對讀寫障礙的認識，給予讀障學生關懷與支持。
「我的作品」集中鍛鍊學員的工藝技巧和提升他們對創作的興趣，讓他們更有自信，使創作有機會得以延續。「 我的體驗」並不著重形式和技巧，他們即興創作，就地取材以享受過程為目標，開托參與者的觸感經驗，嘗試打破傳統藝術創作的界限和觀念。
我的作品
一雙雙襪子娃娃是可愛的鷄仔、鱷魚和小熊。青暉婦女會的導師教授學員運用生活中的現成材料：一隻襪子，一些棉花和小鈕扣，製作出別樹一幟的襪子娃娃，部份更是親子創作的成果。同樣擁有心靈手巧的一眾深水埗南昌居民商戶聯會婦女，收集舊利是封製作宮燈、燈龍、鞭炮等新年掛飾，在環保概念下為展覽帶來點點新年氣氛 。
嗇色園主辦可健耆英地區中心的中國水墨畫跟西洋繪畫作品互相輝影。西方靜物寫生多以直接實物為對象，作畫的人通過對景物的深入觀察，完成對立體形象、光影和質感的刻畫；中國水墨畫造型簡練，意在傳神，借物抒情。每幅作品都是長者的個人修行。
我的體驗
「齊來砌成環保塔」是一個新穎的即興創作，南方民主同盟邀請南亞裔和本地的小藝術家與現場參觀者一起變廢為寶，利用想像力將廢物組合成小玩兒 。同樣著重觀眾體驗的香港盲人輔導會香港賽馬會社區資助計劃 -視障兒童家長資源中心，通過觸感及心靈探索,創作出石膏雕塑及竹蓆紙雕作品，讓視障者表達自己的想像和感受。場內設有體驗區，蒙着雙眼，探索視覺以外的感官可能性。
展覽中除了各「民間藝術家」的個人創作外，還滲入了公眾參與的元素。公眾可以在「你有Say」大畫布和工作坊區發揮創意、參與創作及表達自己的感受。
藝術的種子能否繼續在社區成長，發揮其正面影響力，有賴藝術家和社群共同努力。 藝術家／工作坊推動者需具備與社群溝通的心志 ， 發掘每位參與者的能力和興趣。藝術家透過與居民互動，從中取得靈感，擴闊自身的藝術觀點，創作出觸動心靈的作品 。參與者不再停留在純美感欣賞，當他們對社區之情感融合在創作之中時，便能吸引更多觀眾親身接觸藝術創作。
展覽：《介入——遊走於主動與被動之間》
日期：2013年1月5-6、12-13至19-20日
地址：火炭坳背灣街38 – 40號華衛工貿中心502室
photo bt Pakkin Leung
展覽策展人的話
黃詠楓
介一字有「放於心裡」之意，如介意、介懷等詞。介入，指進入事件，也指干預。
今天的藝術已經不滿足於傳統的美學建構，藝術以往大多與社會保持距離，為了保持藝術的純粹和獨立的審美境界。藝術的前提已變，且已在不知不覺間跑到日常空間，「介入」到社群生活，尋求與社會連上關係與意義。
「介入——在主動與被動之間」是一個以藝術和生活結合為題的展覽，展現藝術家如何走入社區，且以新聞和社會事件作為主題，為弱勢發聲，在被動與主動之間游走，也從生活學習。他們的創作展現濃厚的生活氣息，具有革命、啟發和充權的力量。
Benson Tsang為網絡聞名的攝影師，作品主要分「社運記實」和「平等分享行動」。兩類作品的表現方式呈現很大對比，但出發點一致。「社運記實」題目看似激進但以記錄方式創作，創作本身變得很被動。相反，「平等分享行動」畫面相對溫柔，但創作動機十分主動亦帶批判性。
如果說攝影是一種取捨，在按下快門的那一刻像是射箭，聚焦與精準的發揮，讓觀眾看見的，是攝影師的一份直覺、捕捉與觀察的展現。相對而言，繪畫刖天馬行空，是經由每個小能量慢慢匯集而成的發揮，我們看見的每一筆，都是畫家個人修行中的自我對話。
曾留學法國的淋浪和淋漓，對新聞和社會大小事情的觸覺敏銳，夫婦二人選擇用他們的畫筆為弱勢發聲，淋浪的畫帶點憂愁，畫筆溫柔細膩。淋漓的畫充滿想像力又帶點狂野，質感非常豐富。站在他們的畫前，充分體現藝術家對社會的不滿，而他們的情感也以某種方式進入了我們的世界。
何博欣是展覽中最年輕藝術家，她的作品中有著類似電影世界中暴力美學的詩意畫面，有時支離破碎，有時畫出幻想中的鏡頭。作品帶有隱喻，為城市中平凡和不顯眼的作出平反。
場館內播放著的是姚妙麗兩齣有關香港住宿問題的錄像作品。作品運用輕鬆幽默的手法，探討現代城市的荒謬。面對這種荒謬狀態的藝術家發揮想像力，引領觀眾一起反思我們和香港住宿的真正需要。
黃詠楓和袁永賢的作品不約而同從香港和自身反思出發，衝出香港，在創作過程中發出邀請，前者收集和交換來自三個城市的故事，把真實的故事製作成一張張的明信片，通過這些行動把關心核電問題的人連結起來，以開展讀者和觀眾之間的對話。作品的互動為觀眾和參與者帶來概念性的經驗，衝擊傳統藝術與觀眾、藝術與社會的關係。
後者以寶石比喻珍貴但沉重的一件心事，尋找同樣背負得疲累的香港人，藝術家藉著一次前赴印度的機會，為每件物件找一個合適的有心人保管，以及聽其故事。作品中的被動與不確定性，讓概念藝術與傳統創作的形式距離拉得更遠了。
後記：抱歉介紹寫得不好，而身為展覽策展人，也未能客觀地呈現作品。然而，我相信展覽可以是一個創作平台，畢竟創作的過程帶有取向，𥚃面的人和物是內容和脈絡，而你的出現正是時間的見證人。希望你能享受我們為你預備的展覽。來的時候，你或許帶著從小店購買的罐頭，離開時，你帶走的是一份生活的信念和反思。
黃詠楓
介一字有「放於心裡」之意，如介意、介懷等詞。介入，指進入事件，也指干預。
今天的藝術已經不滿足於傳統的美學建構，藝術以往大多與社會保持距離，為了保持藝術的純粹和獨立的審美境界。藝術的前提已變，且已在不知不覺間跑到日常空間，「介入」到社群生活，尋求與社會連上關係與意義。
「介入——在主動與被動之間」是一個以藝術和生活結合為題的展覽，展現藝術家如何走入社區，且以新聞和社會事件作為主題，為弱勢發聲，在被動與主動之間游走，也從生活學習。他們的創作展現濃厚的生活氣息，具有革命、啟發和充權的力量。
Benson Tsang為網絡聞名的攝影師，作品主要分「社運記實」和「平等分享行動」。兩類作品的表現方式呈現很大對比，但出發點一致。「社運記實」題目看似激進但以記錄方式創作，創作本身變得很被動。相反，「平等分享行動」畫面相對溫柔，但創作動機十分主動亦帶批判性。
如果說攝影是一種取捨，在按下快門的那一刻像是射箭，聚焦與精準的發揮，讓觀眾看見的，是攝影師的一份直覺、捕捉與觀察的展現。相對而言，繪畫刖天馬行空，是經由每個小能量慢慢匯集而成的發揮，我們看見的每一筆，都是畫家個人修行中的自我對話。
曾留學法國的淋浪和淋漓，對新聞和社會大小事情的觸覺敏銳，夫婦二人選擇用他們的畫筆為弱勢發聲，淋浪的畫帶點憂愁，畫筆溫柔細膩。淋漓的畫充滿想像力又帶點狂野，質感非常豐富。站在他們的畫前，充分體現藝術家對社會的不滿，而他們的情感也以某種方式進入了我們的世界。
何博欣是展覽中最年輕藝術家，她的作品中有著類似電影世界中暴力美學的詩意畫面，有時支離破碎，有時畫出幻想中的鏡頭。作品帶有隱喻，為城市中平凡和不顯眼的作出平反。
場館內播放著的是姚妙麗兩齣有關香港住宿問題的錄像作品。作品運用輕鬆幽默的手法，探討現代城市的荒謬。面對這種荒謬狀態的藝術家發揮想像力，引領觀眾一起反思我們和香港住宿的真正需要。
黃詠楓和袁永賢的作品不約而同從香港和自身反思出發，衝出香港，在創作過程中發出邀請，前者收集和交換來自三個城市的故事，把真實的故事製作成一張張的明信片，通過這些行動把關心核電問題的人連結起來，以開展讀者和觀眾之間的對話。作品的互動為觀眾和參與者帶來概念性的經驗，衝擊傳統藝術與觀眾、藝術與社會的關係。
後者以寶石比喻珍貴但沉重的一件心事，尋找同樣背負得疲累的香港人，藝術家藉著一次前赴印度的機會，為每件物件找一個合適的有心人保管，以及聽其故事。作品中的被動與不確定性，讓概念藝術與傳統創作的形式距離拉得更遠了。
後記：抱歉介紹寫得不好，而身為展覽策展人，也未能客觀地呈現作品。然而，我相信展覽可以是一個創作平台，畢竟創作的過程帶有取向，𥚃面的人和物是內容和脈絡，而你的出現正是時間的見證人。希望你能享受我們為你預備的展覽。來的時候，你或許帶著從小店購買的罐頭，離開時，你帶走的是一份生活的信念和反思。
Exhibition Fugue: in the key of Understanding’
Contemporary Art Exhibition
Presented by Para/Site Art space & Hong Kong Jockey Club
at Osage Kwun Tong Gallery, Hong Kong, 27-18April 2010
Book Launch: 15 Oct 2010
ISBN:9789889896386 9889896389
Communication Through Words
Curatorial Statement by WONG Wing Fung
In his studies of language patterns, the Russian psychologist Vygotsky concluded that knowledge is strongly dependent on communication through speech and written language: in other words, thought is born in language. Inspired by this concept, I became very interested in how language and the formulation of ideas are connected, and particularly in how people engage with one another though words. A second theme is the exploration of how the transformation of technology has affected human pathways of linguistic communication, whether spoken or written. Can understanding this transformation perhaps help to enlighten us in some ways about our present state of communication?
Writing extends the capacity of human memory, as well as being an expression of suppressed emotion. Writing by hand can also serve as a meditative act – a practice that requires observation and concentration, as is the case with calligraphy, for example. This is in strong contrast to our contemporary Internet culture, where the fast-paced use of keyboards, quick searches on google, and instant messages focuses on speed. With the rapid changes in technology, words of communication are also transformed in time and space. This in turn continuously alters our physical and mental ‘muscles’ as well as our daily habits. Ultimately we face a challenge of developing trust between human beings, and the need to reflect on our acceptance of changing ways of communicating through words in our society.
British artist Lucy May Schofield often ‘makes objects to house stories which otherwise may go untold’[1]. ‘Wish you were here’ is a set of 20 letterpress-printed postcards about the sadness of being away. These 20 postcards are each inscribed with a single poetic sentence that begins with the phrase ‘I wish you were here’. By inscribing these poems using letterpress Schofield formalizes the informal, wistful messages written on trains while she was having a long distance relationship with someone she desired; these words froze her emotions in time. Schofield composed her daily life experience and personal emotion into an artistic practice through these small poems that can be read out loud and understood as hints of a deeper sentiment. When read together, they comprise a narrative poem. Either way, the poems testify to the artist’s passion to communicate, to generate a dialog, and to create a world in which there is time and space enough to read.
Sound artist Tamara Albaitis’s speaker series ‘Secret’ is a sound installation made with four 7-inch speakers, facing each other to share ‘secrets’. The instant messages reveal communication with a real (or imagined) online audience. As Albaitis said ‘We sit in our homes typing away our deep personal secrets to a friend half a world away. Technology is replacing our actual voices, smiles and hugs’ reflecting the shift in society’s comfort zone and the acceptance of ‘virtual’ intimate communication. Here the artist tests the boundaries of technology as a medium to communicate things that are very personal, in an impersonal way.
Australia based media artist Mari Velonaki’s Fragile Balances delved possibility on communication between humans and machines that incorporates notions of trust and shared intimacy. Two luminous cube-like objects appear to be floating above the surface of a lacquered wooden structure that perches on impossibly slender legs. Each object is comprised of four crystal screens where ‘handwritten’ text appears, wrapping around it conveying a playful sense of rhythm. The text represents personal messages that flow between two virtual characters, and in that sense each object is a physical embodiment of a character. Participants can lift up the objects and handled it freely. The artist playfully challenged us to pause and enter the rhythm of the floating words and the dialogues that they lead to. Informed by Mari’s early involvement in performance art, the devoted passion in communicating with the audience has laid a root in her work. Fragile Balances: Circle D reflects the more complex and beguiling dynamics that have evolved between art, technology and ourselves.
Circle E: Fragile Balances, another wooden table-like object is placed opposite Circle D: Fragile Balances. On the top of the ‘table’ sits a notepad and a pencil. A rotating brass drum is partially sunk into the table. Audience are encouraged to write intimate notes for their loved ones and donate them to the project by feeding them through a slot into the drum when it pauses momentarily. All the intimate letters are scanned and, at a later stage, added as text to the dialogues in the interactive cubes of Circle D: Fragile Balances. The notes collected in this exhibition will contribute to many coming exhibitions around the world. After Hong Kong Station, 'Fragile Balances' are going to Korea, Gyeonggi Museum of Modern Art in September 2010.
The exhibition journey ended with Finding Dialogues: A Documentation of Randomly Found Texts. A group of photographic documentation of 'open-ended' dialogues randomly encountered in different places.
(1) Still Love You, a set of 6 photographic Documentations of floor writing taken in Basingstokes, UK, 2009. These photos are a record of what I found on the street from my walk from a friend’s apartment to the train station in Basingstokes, UK. The words ' Look above you' written with white chalk were seen found on the pavement and drew my attention. As I kept on walking, more signs appeared, so that I realized this text was meant to be read backward from my direction. Someone was leading someone else from the train station to the apartment buildings in the area. It seemed that some surprise was waiting ahead for a lucky person.
(2) ‘Things To Say’ by Alex Rich is a work of word art, previously shown in Arnolfini Arts centre in Bristol, UK. These wall drawings are carefully designed according to the context and the position in which they appear in a space. Alex played with the magic of words and imagination. With the hint of the word ‘SUKIYAKI'’-- a name of a famous Japanese song from Sakamoto Kyu--written on the wall of the entrance, the artist allowed audiences to connect the lyrics of Sakamoto's song with their own memories of it. It also opened up a possibility for those who did not know about the song but were curious about these texts, to use their imagination; and to further investigate the wall texts drawn in different places throughout the building.
(3) ‘Empty words’ is an interactive installation providing a hole-cutting service that Swiss Designer Jürg Lehni in collaborated with designer Alex Rich. The original interactive piece contain a workstation with a very simple graphic interface that allow visitors to type in their own words, the plotter would punch characters into paper. A performance of command and demand are demonstrated. The use of cutter is one of the tools that have direct relationship to the human hands. This work playfully addresses the development of printing technology, as well as the interface between machine and human. These Empty Words Posters are a set of 5 photographic Documentations, they are in-situ photographs shows where these posters locate now and taken by the participations who made their own poster in the past exhibitions whom are happy to share them online.
These dialogues are examples of in-situ photographs taken or pieces collected by friends and myself, they serve as an open invitation to everyone and anyone to connect.
[1] Quote from Lucy May Schofield‘s artist statement.
Contemporary Art Exhibition
Presented by Para/Site Art space & Hong Kong Jockey Club
at Osage Kwun Tong Gallery, Hong Kong, 27-18April 2010
Book Launch: 15 Oct 2010
ISBN:9789889896386 9889896389
Communication Through Words
Curatorial Statement by WONG Wing Fung
In his studies of language patterns, the Russian psychologist Vygotsky concluded that knowledge is strongly dependent on communication through speech and written language: in other words, thought is born in language. Inspired by this concept, I became very interested in how language and the formulation of ideas are connected, and particularly in how people engage with one another though words. A second theme is the exploration of how the transformation of technology has affected human pathways of linguistic communication, whether spoken or written. Can understanding this transformation perhaps help to enlighten us in some ways about our present state of communication?
Writing extends the capacity of human memory, as well as being an expression of suppressed emotion. Writing by hand can also serve as a meditative act – a practice that requires observation and concentration, as is the case with calligraphy, for example. This is in strong contrast to our contemporary Internet culture, where the fast-paced use of keyboards, quick searches on google, and instant messages focuses on speed. With the rapid changes in technology, words of communication are also transformed in time and space. This in turn continuously alters our physical and mental ‘muscles’ as well as our daily habits. Ultimately we face a challenge of developing trust between human beings, and the need to reflect on our acceptance of changing ways of communicating through words in our society.
British artist Lucy May Schofield often ‘makes objects to house stories which otherwise may go untold’[1]. ‘Wish you were here’ is a set of 20 letterpress-printed postcards about the sadness of being away. These 20 postcards are each inscribed with a single poetic sentence that begins with the phrase ‘I wish you were here’. By inscribing these poems using letterpress Schofield formalizes the informal, wistful messages written on trains while she was having a long distance relationship with someone she desired; these words froze her emotions in time. Schofield composed her daily life experience and personal emotion into an artistic practice through these small poems that can be read out loud and understood as hints of a deeper sentiment. When read together, they comprise a narrative poem. Either way, the poems testify to the artist’s passion to communicate, to generate a dialog, and to create a world in which there is time and space enough to read.
Sound artist Tamara Albaitis’s speaker series ‘Secret’ is a sound installation made with four 7-inch speakers, facing each other to share ‘secrets’. The instant messages reveal communication with a real (or imagined) online audience. As Albaitis said ‘We sit in our homes typing away our deep personal secrets to a friend half a world away. Technology is replacing our actual voices, smiles and hugs’ reflecting the shift in society’s comfort zone and the acceptance of ‘virtual’ intimate communication. Here the artist tests the boundaries of technology as a medium to communicate things that are very personal, in an impersonal way.
Australia based media artist Mari Velonaki’s Fragile Balances delved possibility on communication between humans and machines that incorporates notions of trust and shared intimacy. Two luminous cube-like objects appear to be floating above the surface of a lacquered wooden structure that perches on impossibly slender legs. Each object is comprised of four crystal screens where ‘handwritten’ text appears, wrapping around it conveying a playful sense of rhythm. The text represents personal messages that flow between two virtual characters, and in that sense each object is a physical embodiment of a character. Participants can lift up the objects and handled it freely. The artist playfully challenged us to pause and enter the rhythm of the floating words and the dialogues that they lead to. Informed by Mari’s early involvement in performance art, the devoted passion in communicating with the audience has laid a root in her work. Fragile Balances: Circle D reflects the more complex and beguiling dynamics that have evolved between art, technology and ourselves.
Circle E: Fragile Balances, another wooden table-like object is placed opposite Circle D: Fragile Balances. On the top of the ‘table’ sits a notepad and a pencil. A rotating brass drum is partially sunk into the table. Audience are encouraged to write intimate notes for their loved ones and donate them to the project by feeding them through a slot into the drum when it pauses momentarily. All the intimate letters are scanned and, at a later stage, added as text to the dialogues in the interactive cubes of Circle D: Fragile Balances. The notes collected in this exhibition will contribute to many coming exhibitions around the world. After Hong Kong Station, 'Fragile Balances' are going to Korea, Gyeonggi Museum of Modern Art in September 2010.
The exhibition journey ended with Finding Dialogues: A Documentation of Randomly Found Texts. A group of photographic documentation of 'open-ended' dialogues randomly encountered in different places.
(1) Still Love You, a set of 6 photographic Documentations of floor writing taken in Basingstokes, UK, 2009. These photos are a record of what I found on the street from my walk from a friend’s apartment to the train station in Basingstokes, UK. The words ' Look above you' written with white chalk were seen found on the pavement and drew my attention. As I kept on walking, more signs appeared, so that I realized this text was meant to be read backward from my direction. Someone was leading someone else from the train station to the apartment buildings in the area. It seemed that some surprise was waiting ahead for a lucky person.
(2) ‘Things To Say’ by Alex Rich is a work of word art, previously shown in Arnolfini Arts centre in Bristol, UK. These wall drawings are carefully designed according to the context and the position in which they appear in a space. Alex played with the magic of words and imagination. With the hint of the word ‘SUKIYAKI'’-- a name of a famous Japanese song from Sakamoto Kyu--written on the wall of the entrance, the artist allowed audiences to connect the lyrics of Sakamoto's song with their own memories of it. It also opened up a possibility for those who did not know about the song but were curious about these texts, to use their imagination; and to further investigate the wall texts drawn in different places throughout the building.
(3) ‘Empty words’ is an interactive installation providing a hole-cutting service that Swiss Designer Jürg Lehni in collaborated with designer Alex Rich. The original interactive piece contain a workstation with a very simple graphic interface that allow visitors to type in their own words, the plotter would punch characters into paper. A performance of command and demand are demonstrated. The use of cutter is one of the tools that have direct relationship to the human hands. This work playfully addresses the development of printing technology, as well as the interface between machine and human. These Empty Words Posters are a set of 5 photographic Documentations, they are in-situ photographs shows where these posters locate now and taken by the participations who made their own poster in the past exhibitions whom are happy to share them online.
These dialogues are examples of in-situ photographs taken or pieces collected by friends and myself, they serve as an open invitation to everyone and anyone to connect.
[1] Quote from Lucy May Schofield‘s artist statement.
